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Portland native Chris Liepe first played piano, which he pursued until discovering his love for the electric guitar in high school. As a fan of bands like Soundgarden, Collective Soul, and U2, he was inspired to start singing, songwriting, and helping others in their musical endeavors through teaching, co-writing, and album production.
After moving to Colorado with his family, Chris began gigging, recording, and teaching in a number of music stores and out of his apartment... (more)
Chris currently offers 295 guitar lessons at JamPlay, with 23 beginner lessons, 152 intermediate lessons, 17 song lessons, 29 lessons in our Artist Series and 74 Lick & Riff Library entries.
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Chris will guide you through the world of electric guitar in this series.
Chris Liepe talks about the absolute basics of the guitar, including tuning, the guitar parts, and proper technique.
Chris Liepe introduces you to your very first 2 chords, E and A. Since this is your first chord lesson, Chris also introduces a backing track for you to slowly play along with. Practicing in this manner will give you the feeling of playing with a band. You may be a beginner, but you can still rock out!
Here in lesson 3, Chris teaches the C, G, and D chords. Once you have mastered the chords taught in this lesson and the previous lesson, you will have learned the CAGED method of remembering open chord shapes. Chris provides a new backing track for you to rock out with. Be creative and have fun with this beginner lesson!
Chris is back with his most information packed lesson to date. In this lesson, you will learn how to read tablature, chord charts and musical notation. All of these tools will drastically help you in your journey to learn guitar.
Chris Liepe is back in lesson 5 with an introduction to scales. In this lesson, you will learn how to play up and down simple scale patterns.
In this lesson, Chris introduces minor chords and barre chords.
Chris Liepe lays down some grooves in this lesson! He provides instruction on rhythmic strumming patterns and time signatures such as 4/4, 3/4, and 6/8.
Intervals, Intervals, Intervals! Chris Liepe explains what they are, where they are found, and how to play them in this lesson.
Sharpen your pencils and grab your guitar. It's pop quiz time. Chris Liepe adds to his beginner lesson series with a quiz on intervals. This is a hands-on lesson that will undoubtedly improve your ears. Test time starts...Now!
Chris Liepe breaks through his 10th lesson with a detailed discussion of triads. Dig in and take these triads for a ride!
This lesson begins a mini-series on effects pedals. Chris breaks down routing and how effects work with each other.
The compression effect pedal is one of the most misunderstood pedals around. Chris Liepe finally sheds some light on the subject. By explaining all the different options and sounds this pedal can create, Chris will help you decide whether this effect should be included in your arsenal.
Chris Liepe is back with the 3rd installment in his Effects Pedal mini-series. He explains the concept of "gain stacking" by combining an Ibanez Tube Screamer and a Boss DS-1 Distortion pedal.
Chris Liepe adds yet another lesson to his effect pedal-mini series. Here he covers the delay pedal. This effect that operates on the principles of time and rhythm. Use this pedal to add depth to your sound and to create some insane solos.
Chris Liepe quickly demonstrates the chorus pedal with some 80's style licks. This pedal can create a deep and rich addition to solos or add the illusion of multiple guitars.
Key Signatures! How do they relate to one another? Chris Liepe explains them in lesson 16 of his beginner series. Getting familiar with your key signatures will help pull everything together that has been covered so far in the series.
Chris Liepe demonstrates how to take a key signature (the set notes within a key) and stack 3rds on top of a root note to form chords. With the help of a modulating backing track, this should be a fun and interactive lesson that will further your music theory training.
Chris explains and demonstrates the very basics of alternate picking. He also provides simple exercises to develop the technique in your own playing.
Chris details and demonstrates the fundamental movements and suggested left hand position for legato playing -- specifically hammer-ons and pull-offs. He also provides exercises for developing the technique.
Chris talks about proper palm muting and discusses potential snags when first attempting the technique. He offers a number of exercises and patterns to help palm muting become a part of your rhythm playing.
Hybrid picking can add a fresh dimension to your chord and rhythm playing. In this lesson, Chris briefly covers how to get started with hybrid picking and offers two exercises that you can use to apply the technique to your chords.
Chris talks about what it means to play in position and teaches three of the five "CAGED" major scale positions in the key of G.
Chris continues in his teaching of the five basic "CAGED" major scale positions in the key of G.
Chris Liepe introduces his way to approaching new way to improve speed and dexterity. In this series you will learn ways to become faster while developing skill and accuracy.
Chris Liepe introduces his Phase 2 Lesson Series with a lesson on warm-up routines. Here, he teaches ways to improve your speed and dexterity.
Instrumental Rock carries with it many creative aspects both in writing and playing. By the end of this series, Chris will have covered almost everything you will need to know to create and play your very own melodic instrumental rock piece, with emotion!
Chris Liepe introduces his Phase 2 Rock Essentials lesson series. By highlighting specific instrumental rock styles and techniques, Chris will help you become a more melodically creative player.
Chris Liepe starts off his Rock Essentials series with a lesson on 3 on a string scales. Utilizing 3, 4, and 6 note sequencing, Chris begins to dive into instrumental rock style phrasing and provides several licks influenced by the 3 on a string concept.
Chris introduces the pentatonic scales as well as some of their basic applications.
Chris Liepe takes some time to explain chord numbering. Understanding how chords are built will only help in your overall knowledge of the guitar.
Chris breaks down the CAGED system and its chord chemistry. He covers both major and minor chord forms.
Chris digs into the sweep picking technique. He uses the C, A, and E forms introduced in the previous lesson to help with finger synchronization.
Chris moves on to the subject of modes. He explains where modes come from, how they sound, and how they are used.
This lesson demonstrates how to modify the old trusty 5th fret A minor pentatonic position to make it sound modal.
How do you know which mode to use? There are giveaways with every chord progression, and Chris covers them in this lesson.
Chris demonstrates how to complete the major and minor scale by using pentatonic positions based on the roots of the I, IV, and V chords.
Chris Liepe utilizes everything he has taught in the series so far to demonstrate how to create catchy lead lines over a backing track.
Chris Liepe delves into the world of implied tonalities. This lesson details how a single arpeggio can be implied over various chordal sounds.
Chris teaches the solo that was used in the introduction lesson for this series. He uses the solo as an example of how to effectively compose your own solos.
It's time to give the right hand hand some work with two hand tapping on the guitar neck.
With so much material out there, what should you focus on?
How much time do you spend on a certain topic? How do you progress? How do you measure progress? Chris covers all of these topics in this lesson.
Chris Liepe offers up some insight into his past. Hopefully this lesson will help you further your own goals as a guitarist.
Understanding the basics to recording and micing your guitar can help you develop as a musician. Gain a grasp on how to create your own personal studio
Welcome to lesson 1 of the Recording and Micing series! Here Chris provides some information essential to getting your home studio up and running.
Setting up your space for optimal audio recording and play back is key to creating a successful home studio. Chris explains how to create the best possible environment in this lesson.
Chris demonstrates how microphones work and how to choose the right microphone for a specific application.
Chris explains how to successfully record through some direct recording techniques. When done correctly, you can record a clean signal from your guitar with no microphones.
Chris liepe unlocks the wonders of micing an electric guitar amplifier. He explains how to find a speaker's "sweet spot" as well as the differences in tone between various common micing techniques.
Chris Liepe teams up with Jim Deeming to present proper acoustic guitar micing techniques. Chris covers both single and dual micing placements and explains why each position is effective for certain situations.
With the help of Jim's playing, Chris has rigged up Jim's guitar three different ways and demonstrates the different qualities of sound you can get by recording with a direct line in, micing the amp, micing the guitar, or by combining any one of the three options together to create a crisp and unique sound.
With Jim playing 3 different sequences to overdub on top of one another, Chris will record them using 3 different micing techniques with 2 different guitars to create 1 final track.
Chris takes a step back from electric and acoustic micing to demonstrate the proper way to route your effects to achieve the best possible sound.
Chris uses a Pro Tools session to demonstrate not only how to create a solid lead guitar sound within your home DAW, but how the basic tools and tips that he demonstrates can be applied to any software used.
Chris Liepe reveals the basics of how to properly understand and utilize EQ tools within a DAW to define and enrich your overall guitar sound.
Chris will guide you through this 6 week guitar note memorization program dedicated to help commit them to memory.
Welcome to week 1 of this 6 week program! This lesson covers all of the 6th string octave relationships found across the fretboard.
Chris demonstrates the same note memorization technique used in the week 1 lesson. This time around, octave relationships are based on the 5th string.
In week 3 of this 6 week program, Chris demonstrates how the 5th interval can be used to determine the location of various notes on the fretboard.
Chris moves the octave relationship to the 1st and 2nd strings, which will cause you to think backwards to find the correct note.
Welcome to lesson 5 in this 6 week series! Chris demonstrates the same 5th interval technique used in lesson 3. This time he applies it to strings 1, 2, and 3.
Welcome to the final week in this 6 week series! Chris demonstrates a great practice tool to apply everything you have learned in this series.
Chris takes his 6 week series technique into an "Expanding your Rhythm Playing" session.
Welcome to lesson 1 in this 6 week series on expanding your rhythm guitar playing! Here, Chris introduces you to what will be taught in the series and starts breaking things down in the key of E.
In week 2 of his 6 Week Rhythm Guitar Series, Chris breaks down the key of A major.
Week 3 of this 6 week series presents a deeper understanding of the key of D major.
Following in suit with the last 3 lessons, Chris explains some rhythm guitar ideas in the key of G.
In Lesson 5 of this 6 week series, Chris breaks down the final key of B.
In this final lesson, Chris teaches how to put a name to the face of all the different chord shapes you have created in the past 5 lessons.
Blues is easy to play, but hard to master. Chris Liepe's mission in this series is to get you to master the blues.
In this lesson, Chris Liepe introduces the "Jekyll and Hyde Blues." This is a 3 minute long blues guitar solo that incorporates techniques and lines from the blues greats. Chris breaks down the solo lick by lick.
Chris teaches the first section of this epic blues solo. This portion features string raking, muting, and a simple pentatonic line.
Chris teaches the second section of the solo. This section features sort of call and response and also incorporates more bending, rakes and muting in a higher register.
Based on an open “E” chord, this familiar sounding lick comes way down in dynamics and in range.
Chris teaches the fourth lick in this solo. It is a dominant line that is played the same over both the V and IV chords just before the turnaround.
This is one of the most familiar sounding licks in the entire pack. Chris teaches this classic turnaround and demonstrates how it can be used in the context of a blues solo.
We really turn into the “nice guy” on this one! It starts with a subtle sweep/rake followed by some whispering bends. Then, you get to walk up with some clean 6th intervals and back down with some octaves. Get the other fingers on your pick hand ready for some hybrid picking. It makes the back half of this lick sound all the more lullaby-like.
This lick has bite! This lick remains soft for the most part, but has a few notes that really jump out dynamically. The beginning of the lick really nails the minor 3rd, but at the end, it rests on a nice major 3rd. Strategically using the minor/major 3rd interplay really creates some nice ear candy.
Play one more quiet lick before we crank the gain back up. Incorporate some fast triplets, palm muted legato notes, and a smooth slide down to E. Then, you’ll reach for your volume knob!
Bring back the bends and the loudness! This lick is designed to lead to another lick with a bit more resolve. It’s written to be messy.
It's time to bend the first string up to an E! Milk it for all it’s worth. The rest features a bendy journey down the Em pentatonic scale and a Hendrix-influenced trill with a twist. If you have a whammy bar, hit it a few times while you’re playing the trill. It’ll create a nice distressed sound.
If you like abusing your guitar, you’ll like this lick. It features loud, open string double stops, slides, and a long bend that ends with you hitting your guitar to create a percussive and abrupt stop!
Time to return to nice playing. The use of staccato when playing quietly makes for a playful, controlled sound. Pay special attention to note durations on this one. In order to nail the crescendo at the end, you’ll need to inch your volume knob up just before you start the line. Take care to play extra quietly so you don’t jump too abruptly in dynamics.
This lick only works if you play behind the beat. There are not many notes here, but each one counts. Using the whammy bar takes the listener to a modern instrumental rock place just for a second before being reminded once again that he/she is indeed listening to the blues.
Chris focuses on playing melodic lines that mimic vocals.
It's time to spend some time with the b5. This lick features lots of legato with some strategically picked notes that give this descent a free flowing sound.
It's time for some more pedal tones! By taking the same pull-off feel, but slowing it down and using the ‘B’ string as a pedal tone, we’re able to walk up to a higher register unison bend.
The hook returns in plain form, this time in a quiet octave line. String muting is important here to generate the desired effect of sneaking around the guitar while tipping one's hat to the melody.
Chris Liepe teaches an epic blues trill!
Chris teaches another passage that features of vocal-like guitar playing.
This section of the guitar solo is fast and features strategic use of slurs.
We return to the opening melody once again. It’s like we’re coming home now. There are a few key variations from the original, but the point is to exit the guitar solo and bring in the song's end. It can’t go on forever, right?
You don’t have to bend up a perfect 4th this time, but you do have a few more notes to worry about. You also have the opportunity to mimic a slide guitar player after you hit the highest note of the lick.
In this lick the choked notes return. We contrast them with dominant chord arpeggios played very quietly.
This lick features bends, open strings, and a lot of pull-offs. This revolving line draws from Jimmy Page influences and is the perfect highlight to transition to the final chords of the song.
Chris teaches the final section of the "Jekyll and Hide Blues."
Learn an entire guitar solo inspired by such greats as Joe Satriani and Steve Vai.
Chris Liepe introduces the lesson series. In this series you will learn an amazing melodic rock guitar solo one lick at a time.
Chris teaches the first lick of his instrumental melodic rock guitar solo. This verse hook grounds the listener with repetition. The subdued nature of the line leaves plenty of lift for the coming transition to the chorus.
Inch your volume knob up just a tad, but let the clean tone of the guitar shine through on these Satriani-inspired bursts of speed. Inserting runs like these into calmer sections of a passage help prepare the listener for energy that presents itself later in the song.
This is the second and primary hook of the song. It is joined with a repetitive call and answer lick.
This lick is the first of two speedy and articulate descending lines.
Inspired by the simplicity found in the playing of classic artists like Chuck Berry, this bendy line illustrates the power of intentionally pulling back within the beat to make the notes stand for more than they are worth.
Chris teaches a lick that temporarily modulations into Dorian. The lick is descending and is played with alternate picking.
In this section the lick returns to Mixolydian with a slow staccato passage that ends up as fast legato.
Chris Liepe teaches a lick that uses 6th intervals. In addition to learning the exact solo lick, you’ll learn a few cool ways to navigate the neck with 6ths.
Just like with the first verse, sudden bursts of Lydian speed help move us down the road. The power of this passage is in the pauses and the way certain notes are emphasized.
Chris Liepe teaches a lick that features triplets, alternate picking, palm muting, and rhythmic repetition.
Chris teaches a blistering, descending legato lick inspired by Steve Vai.
This lick features some tapping with the blunt edge of the pick.
Chris teaches a lick that utilizes pedal tones.
This lick combines good legato speed with accented, alternate picking. It is a perfect example of how rhythm, speed, and register work to build energy.
Learn a full progressive rock solo lick by lick in this series of lessons.
Chris Liepe introduces his new series that showcases a full, fast-paced progressive rock solo. You will learn the solo lick by lick, as well as some great skills and techniques along the way.
Chris begins with the first lick in the solo. With a mini melody that pulls you right in, this lick is almost more of an introduction to the solo. While learning this lick, Chris encourages you to pay extra attention to how each note is played.
Chris gets started on the primary melody. While the melody spans the whole solo, this lesson just focuses on the first part. This lick is derived from the C# minor pentatonic scale.
Chris looks at the next section of the solo. This lick fits perfectly with the main melody. It provides a smooth transition and added excitement. Chris looks at the notes can be added to the minor pentatonic scale for a more natural minor feel.
Chris dives into the next section of the progressive rock solo. This time, the focus is on sweeping. This section of the solo adds speed and kicks the energy level up a notch.
Chris demonstrates a lick that will give you more practice with sweep picking. Though this lick is not in the solo, some of the positions are.
Chris takes a look at one more sweep picking lick that is not in the solo. Like the first sweeping lick, this one is very fusion in nature.
Chris dives back into the solo. This time he offers up a lick with a fun unison bend. This lick is based in the C# minor scale.
Chris continues with lick 8 of this progressive rock solo. This time, you will play fast chromatic lines with alternate picking.
Chris takes another break from the solo. This time, he looks at a pentatonic sequence that is reminiscent of something Jimmy Page might do.
In this lesson, Chris looks at the melody of the solo in a higher octave. Playing in a different fretboard position/a different range might help open up some new ideas.
Chris finishes out the progressive rock solo with a fairly simple tapping lick.
Although you finished the solo in the last lesson, Chris offers up one more tapping lick for your enjoyment.
Blues is easy to play, but hard to master. Chris Liepe's mission in the Bitter Blues, is to make you a master.
Chris Liepe introduces "The Bitter Blues," a unique blues composition inspired by Led Zeppelin and Jimmy Page. In this intro segment, Chris talks about how the song will be taught.
Chris Liepe demonstrates the entire song from start to finish. This will help you master the phrasing of the individual licks.
From the first note and the first bend, the mournful whisper of the guitar sets the stage for the tumultuous conversation between voice and strings. Bend slowly.
You’re holding back. You know what you want to say but you’re tiptoeing around it. Finally, the definitive resolve comes at end of the sentence. Play it like you’d speak it.
There is much more resolve in this statement. What might the guitar be saying now? From the pregnant pause in the middle, to the reaching, slow-to-arrive bend, there’s a lot of phrasing to study here.
The frustration comes out in this lick! After a few phrases that tread lightly, this statement is just put out there. Strike that double stop! Lash out a bit with your playing.
Perhaps too much was said in the last lick...and a bit too forcefully at that. How about this soothing minor chord and some soft whining bends as an attempt to make amends? Get your pick hand fingers involved and think about the contrast with passage 4.
It’s hard to hide true feelings. Opening up for the first time can be messy. Think less about the tempo and more about the ending notes for each phrase in this passage, particularly the last bend. Get the bar involved.
With each held note, it's as if there are offenses being moaned out. Give it all you’ve got here without getting ahead of yourself. Play slowly and fiercely.
Finish the rant and say all the words you feel you need to before taking some time to listen and react. This first guitar solo has come to an end, and now it's time to connect with the vocalist. Practice active listening. React emotionally and intelligently.
You’re not restating anything yet, just making it clear that you’re now here to listen. Fill the hole quietly and retreat.
You’re about to get an earful of notes, so brace yourself and keep it brief. Just let it be known that you’re still tracking. Control and precision with harmonics and bar bending are needed.
Follow every nuance of the voice as closely as you can. Match the pitch, the inflection, the pitch bend, and the dynamics. One of the best ways to learn phrasing is to practice copying other instruments.
In this guitar/vocal duet, you must make direct statements, and you must learn to dance while partially being in the background as an accompanist. This is the first of many opportunities to do just that.
Now you’re being lashed out at. Loud inquisitions are being blasted at you. You’ll react strongly at first and then calmly as if to say that you don’t really need to defend yourself after all. Instead, you just need to be present and equally interesting.
This is another opportunity to copy the phrasing of the vocalist. This time, you get to do it while shouting instead of talking under your breath. Study the nuances of the voice!
The flurry of notes seems to suggest that hands are being thrown up and walls are being built at this point in the argument. Don’t let the need for subtle speed take away from the following accompanist role.
You’re still here, but you're licking some wounds and finding comfort and camaraderie in the rhythm section. It's time to play some arpeggiated chords and fill holes in a very subtle way.
The rhythm playing and intensity grows and the unsettling octave line paints a picture of someone pacing back and forth as guilt trip from the vocals continues. Listen to your band! They are your support and your context!
You’ve heard the singer’s side, had a little time to form your thoughts, and now it’s your turn to lay it all out. You start slowly and gracefully while paying attention to every statement you make. The smallest detail counts and makes a difference in terms of how you are heard by your friends and opposers alike.
You offer a new angle and a new thought. Many times in arguments we end up going around in circles unless new ideas are brought to the forefront. How about a little harmonic minor?
There’s a lot that could be said, but choosing your words carefully is more important than simply speaking your mind. The more care you put into your words, the more likely you are to be heard.
As if to reach out for affection, you cry out repeatedly to make sure you are understood. Make those high notes weep! Demand a strong reaction!
This could be a flurry of frustration, a jumbled thought in the midst of what you thought was clarity or just a passionate phrase describing your feelings in the most intense way you know how. Precision and aggression are needed.
These are the boldest and most soaring notes to be played yet! It’s as if you are saying how you REALLY feel and showing your true colors in this mess of an ordeal. Let It Sing!
As emotions run high and the anticipation of some sort of true resolution is almost too much to take, you need to keep the tension and wait to see some more effort from the other side. This passage is asymmetrical, and the timing can be difficult. Practice slow, but know that it really only has true impact at full speed.
The back and forth continues, but this time it’s without the band. It seems that there really are some deep roots in this relationship. There’s screaming and there’s whispering. Make sure the difference is felt and heard.
Be one with the vocalist one last time. Translate the brokenness in the vocal sound into intentionally messy unison bends. Match the vocal timing exactly.
You're accompanying now, but you are not backing down. You’re fuming. Your energy is almost too much to contain, yet you translate that to the guitar by playing aggressive, in-the-pocket chords!
The dissonance with the band and the vocalist seems to suggest that the situation may be falling apart. Now the relationships with others could suffer too. Playing the established and familiar hooks over a more shifty bed is a good way to create more tension.
You’re both left panting. You’re partially gasping for air and partially grasping for one another. This final run sets up the last attempt to bring closure to this melancholy musical exchange between the two musicians.
You get one last chance to soar, but you don’t get the final words. Many times, how you choose to end things is the most important part of something that was meant to be beautiful.
Modern church/worship music pulls from all sorts of genres. You'll hear a lot of Rock/Pop influence, some Punk riffs, and even the Nashville Country sound from time to time. As guitar playing has become more prominent in the church and more instrumentalists step up to lead their congregation, the culmination of these genres has created a recognizable and specific style of guitar playing. This series deals with concepts and techniques and sounds that make up the style of modern worship guitar. Perhaps the most unique aspect of this type of playing is the way that simple parts with specific effects are layered together to form very atmospheric and layered soundscapes. We'll not only look at the playing, but we'll dissect tones and patches to provide the tools necessary to create that modern worship guitar playing sound. We also deal with typical roles that each guitarist might assume in a band setting so that all the pieces to the puzzle fit the way the need to... So the band moves as one unit, and the music is tight and textured!
Produce the sounds that have made modern church/worship music what it is today. Learn how to craft minimalist guitar sounds, find your place in the mix of other instrumentalists, and dial in your tone and effects! Look at the styles of Hillsong United, Jesus Culture, Third Day, Lincoln Brewster and more!
We all must know our place in the band. We must know how to play for the good of the whole. By being a "backbone player," you'll create an unstoppable tightness that will allow each instrument to perfectly fill their role in the sound!
Here, we take a look at the rest of the "CAGED" keys and discuss more ways to fluidly move between basic chords in a progression while maintaining that 'backbone' acoustic rhythm style.
Learn to think of each of the standard "CAGED" keys as positions rather than groups of chords tied to a specific key. Tie these positions to the number system, and you're golden!
Simple leads and tasty rhythm playing are often built from two string repeating phrases that loosely follow the chord progression of a worship song. We'll look at 3 blocks in total. Start with block 1 and see how you can relate it back to some worship songs you know.
Move up the neck and tap into more range and an even more familiar sound. Combine blocks 1 and 2 for variety. Keep the rhythms slow and simple, add some effects, and you're off!
We move to an even higher register in this lesson. There are nearly infinite possibilities when you expand on the concepts of forming little block positions around common chord progressions. Let your creativity soar!
Learn how to dial in reverb and delay effects for that signature dreamy, minimalistic sound. Get actual knob settings and perspective on when and how to use certain effects.
Dissect the playing and effects in this simple, arpeggio line with a 1/8D delay. Practice this Hillsong United-inspired part with the other guitars, or by itself with the included backing track.
Turn up the FX a little more, warm up that picking hand and get ready to add some serious texture to the mix! Don't go too crazy though! You still want to be listening to what the rest of your band is doing so you all gel!
If there was a guitar solo in this mix, this would be it, I suppose. This is the most 'out front' part and has the greatest sense of melody. Played with the other two parts, it completes this sound environment nicely! Have fun!
With three guitars all playing rhythm parts, you have to know that what you are playing compliments what the other guys are doing. This first part looks at intentional, simple rhythm playing that fills its own space in the mix.
There's an element of lead guitar playing in this part, but in many ways, it is the counter rhythm to the part learned in the last lesson. Listen to how the two electric parts push and pull at each other, particularly in the "B" section.
...And then there's the acoustic. As with the two electric guitar parts, pay careful attention to how the intentional strum pattern fills its own unique corner in the overall mix. Take this example and apply it to any chord progression you choose!
When it is layered among the other guitar tracks, this line almost sounds like any other standard rhythm part, but it's not! It is a moving riff that, though dry, uses a static wah sound to lay back in the mix.
It's the refrain of this series: simple, catchy and well placed lines that work in harmony with each other make this world go 'round. In this lesson, we literally provide harmony to the line from the previous lesson, even though it doesn't move with it.
The acoustic guitar propels the groove forward in this example. Practice being precise with your strum patterns and be very conscious of how you are strumming in relation to the other instruments.
With a progressive sounding track like this, you need that chunky rhythm foundation. Strategically adding quirks and taste to this part, while listening to the other parts is going to make everything a bit more interesting.
Crank up the delay and get in the groove. Let the revolving rhythm of the delay carry you as you sneak in tasty morsels between the repeats. Have fun!
Yes! Now we get to learn a full guitar solo in the style of one of the greatest guitar players to contribute to modern worship guitar. Learn a concrete example of developing a theme, inserting licks, and returning to a modified version of your theme.
Study the ideas and techniques of surf artists like Dick Dale, The Ventures and more!
What do you need to know to play surf guitar? What styles of music does surf draw from? How has surf music influenced other styles? How does technique play into playing in this genre? Answers to all of these questions and more are in this series! Dig in and have fun!
If you know the blues, the song forms and chord progressions in surf music are going to make a lot of sense to you. If you are not that familiar with the blues, that's ok! We go over the similarities in this lesson and so you can learn about two different genres at the same time!
Starting with some of the background layers that are present in some surf songs, you'll learn about two different ways to approach the guitar in a rhythmic context similar to a track performed by the Ventures.
Fast alternate picking with thick spring reverb and strange sounding scales is the first sound people think of when someone mentions surf guitar. This lesson breaks down the alternate picking component of that sound.
That classic "Miserlou" sound that seems both haunting and enchanting is explained and broken down in this lesson with a scale that most people never even think to learn. It's called the Double Harmonic scale.
Take what you learned about the double harmonic scale in the key of C from the last lesson and apply it to the good old open E. Practice it on the low E and the high E with a click track and with the backing track! Get familiar with the sound and try writing your own melody or hook.
This Series will dive into the world of Tom Morello, Demonstrating how he accomplishes his very unique sound.
Chris Liepe introduces his "Style of Tom Morello" Series with an original song that utilizes key aspects of Tom's playing. This song serves as a preview to the rhythm and lead guitar techniques that will be taught throughout this series. In the mean time, enjoy a bit of entertainment and get ready!
Chris Liepe discusses one of Tom Morello's primary writing tools - the minor pentatonic scale. First, Chris demonstrates the five patterns of the pentatonic scale. Then, he shares a few ideas that will help you create your own Tom Morello style riffs within this scale.
Chris Liepe looks into the fundamentals of Tom Morello's lead guitar style. Tom frequently plays fluid legato licks in his solos. Many of these legato lines utilize scale patterns that contain three notes on each string. Chris provides some examples of legato lines to get your soloing juices flowing.
A key aspect of Tom's playing is his unique use of effects. His effects setup is rather minimalistic. However, he uses effects in combination with conventional and non conventional guitar techniques to generate a large pallet of tonal colors. In this lesson, Chris Liepe takes a look at some of the tools Tom uses to create his signature sounds.
Chris Liepe demonstrates how Tom Morello combines scale ideas, melodic phrasing and strategic effects to create unconventional guitar sounds.
Chris Liepe breaks down the structural form of a typical song written by Tom Morello. He explains how choruses can be used as emotional highs as well as where Tom may enhance the drama of a song by using effects.
Chris Liepe teaches a Tom Morello inspired song entitled "They Got It All." This song utilizes all of the techniques taught in the previous lessons within this series. Here, Chris demonstrates his own interpretations of Morello's style. In addition, he provides insight into how you can create your own Morello style sounds.
Take a look at this series to learn many different tips and techniques to the Style of Steve Vai.
Chris Liepe takes moment to introduce his lesson series on Steve Vai. He demonstrates a Vai-like instrumental and explains what the following lessons will cover. For now, just sit back and enjoy Chris Liepe's take on the sounds of Steve Vai!
Chris kicks off this lesson series with an in depth look at many different techniques Vai uses in his playing. From rhythmic moving 5ths, legato variations, interval sliding to multi-string tapping techniques, it's all taught right here.
Chris Liepe introduces his third Vai lesson with a deep explanation in creating Vai-like melodies. Covering techniques and some "inventing" concepts, Chris presents many different ideas for you to add to your Steve Vai toolbox.
Chris presents an information packed lesson on many different Vai-inspired guitar licks and riffs.
Time to get some Vai-inspired rhythm into your playing! Chris jumps into some power chords, clean rhythms, and everything in between to help demonstrate the unique sound of Vai.
Chris Liepe explains how Steve Vai achieves his unique tone.
Chris Liepe rounds out this Steve Vai Series with a concept called the "central lick idea." This idea can be used to explore new solo possibilities around a central thematic idea.
Chris Liepe breaks down the electric guitar stylings of U2 guitarist "The Edge." This lick based series covers delay, playing techniques and arrangement that gives The Edge his signature sound.
Chris Liepe is back with a new In the Style of series! This time he's taking a look at U2 guitarist "The Edge." In this lick based series, Chris discusses the use of delay, layering and arrangement that help create The Edge's signature sound.
In this lesson of the Style of The Edge series, Chris discusses the types of delay that The Edge uses and how to setup those delays yourself. You'll need to setup several for the lessons to come.
In lesson 3 of this series, Chris teaches the first lick of the song you'll be learning. This lick is focused on getting you playing with the delay. Specifically playing the pocket of a dotted eighth delay. This type of sound is highly characteristic of U2 and The Edge's playing.
Lesson four of this series is all about using repeated figures with the delay. In this lesson Chris demonstrates a lick that is repeated through the tune you're learning. Played with the delay, this helps create a layered effect that is common with many U2 songs.
In this lesson of his Style of The Edge series, Chris Liepe discusses the use of an E-bow. This accessory helps guitarists like The Edge create pad like elements that thicken and round out the sound of a track.
Lesson 6 of this series is all about using straight eighth note patterns to create a sixteenth note feel with the delay.
In this lesson, Chris introduces the straight eighth note delay and the common practice of double the bass part of a track.
In this "Style of The Edge" lesson, Chris Liepe introduces the tremolo effect. He also discusses the layering of parts that you've learned in the past several lessons.
Chris is back with another look at layered elements. In this lesson you're going to be adding a layered element using basic strumming. Chris discusses how layering helps to fill out a broad spectrum of sound.
So far in this series, Chris has mainly discussed rhythmic elements that make up The Edge's playing. Now it's time to start taking a look at a bit of lead playing. By making a few small tweaks to your tone and by combining pentatonic scale knowledge, you can create effective lead lines that require only basic technical ability.
In lesson 11 of this series, Chris borrows from the previous lesson. Specifically you'll be taking a look at adding the major 7th to the minor pentatonic scale.
In lesson 12, Chris takes a look at playing triadic arpeggios with a dotted eighth note delay.
Chris Liepe continues to build on the concept of a straight eighth played against a dotted eighth delay. In this lesson, you'll take a look at triads arpeggiated in a higher register.
Now that you have a completely layered track, it's time to start thinking in terms of a solo. Chris gets you going with the first lick of the solo section.
It's time to take a look at the final solo passage. Things are getting more aggressive here as we work towards the tune's climax.
Chris Liepe is an amazingly versatile player and teacher. With a background that includes professional recording and mixing, piano playing and guitar Chris brings a unique perspective to his lessons.
Ladies and gentlemen of JamPlay, we are proud to introduce a new instructor by the name of Chris Liepe. Chris has masterfully crafted a wicked rendition of "Carol Of The Bells" for this lesson. Here he teaches the melody, some lead guitar ideas, and some crushing drop D riffs. Chris has brought a holiday classic to us worthy of 21st century play. Enjoy this one and rock your socks off this season!
Chris brings his ingenuity to this lesson on the American folk song called "Where Did You Sleep Last Night?" Also known as "Black Girl" or "In The Pines," this song provides a great opportunity to add a rocking classic to your set list. This lesson also tests your ability to write a creative lead.
Chris Liepe teaches both the original version of "Heartbreak Hotel" by Elvis as well as his own improvised version.
Chris Liepe brings forward this monster lesson on his original song entitled "Love Someone."
Chris Liepe teaches the EVE 6 song "Inside Out." Here, Chris demonstrates every aspect of the song.
Chris presents an explosive and extensive lesson on the EVE 6 song entitled "At Least We're Dreaming." Here Chris covers the main guitar parts as well as the additional overdubs. Also included is an acoustic demonstration and a quick singing tutorial. Have fun!
Chris Liepe breaks down "Here's To The Night" by Eve 6. Here, Chris uses the acoustic guitar to replace the orchestral sequencing featured in the original recording of the song.
Imagine the music stylings of Switchfoot, Queen, and Audioslave all wrapped up into a timeless holiday favorite.
Chris Liepe breaks down this classic Judas Priest song.
Chris Liepe teaches a classic Judas Priest song entitled "Breaking The Law." Chris introduces this very catchy song in a way that is perfect for beginners. If it's your favorite song and you already know how to play it feel free to view the lesson for Chris' original additional lead licks.
Welcome to Chris Liepe's demonstration of "I Hate Everything About You" by Three Days Grace! This is a fantastic beginner song that introduces drop D tuning.
Chris Liepe takes an in depth look at the song "Long Way Down" by the Goo Goo Dolls. This song is a great example of how to write simple, powerful, guitar-driven songs like those that were very popular in the 90's alternative rock scene.
Chris Liepe demonstrates this fantastic 80's rock song entitled "Living After Midnight" by Judas Priest. This song has some great entry level information for anyone who is looking to step up his/her rock rhythm guitar playing.
Chris Liepe teaches this acoustic Plain White T's song simply titled "1,2,3,4". This is a simple song, however it offers a great opportunity to work with a second acoustic player to add layers and character to the overall song arrangement.
Welcome to Chris Liepe's rendition of the song "Hip To Be Square" by Huey Lewis and the News! Chris utilizes this song to show how playing sax lines on guitar can result in a rockin' guitar solo. Enjoy!
The song "You" by the artist Candlebox was released in 1994 and presents some very catchy rhythm parts as well as a wicked guitar solo that will allow a beginner player to get a taste of some intermediate guitar parts. Chris Liepe teaches this song in a fun and easy way to pick up.
Chris Liepe has created a very unique guitar rendition of the song "Let it Go" from the movie Frozen. This offers a great look into the world of adapting guitar like sounds into a song that was never originally written for guitar.
Our Lick & Riff Video Library can help you break out of your standard techniques, and can inspire your creativity to move your playing forward.
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